E. PANAIOTIDI: THE MYTH OF THE ISOMORPHISM, IRASM 38 (2007) 2, 133-142 133 THE MYTH OF THE ISOMORPHISM1 ELVIRA G. PANAIOTIDI UDC: 78.01 Original Scientific Paper Department of Social Sciences, Izvorni znanstveni rad Received: November 17, 2006 North-Ossetian State Pedagogical Institute, Primljeno: 17. studenoga 2006. 362003 VLADIKAVKAZ, K. Marx St. 36, Accepted: April 3, 2007 Republic North Ossetia-Alania, Russian Federation PrihvaÊeno: 3. travnja 2007. E-mail: [email protected] Abstract — Résumé The immense influence of Greek musical Though the thesis of isomorphism was thought upon Western theory and philosophy applied to different art forms, music remained of music is well known. We owe to the ancient the paradigm case. To trace its history in the con- thinkers our basic aesthetic concepts, such as text of musical discourse is a worthwhile enter- harmony and beauty, valuable observations con- prise since this thesis is still being adduced for cerning the origin and nature of music, its ef- explanation and justification for the variety of fects and its role in the life of the individual and effects and functions of music. The problem society. Among the most significant motifs in however is that its validity has yet to be estab- the writings of Greek theoreticians is the idea of lished and its epistemological status clarified. isomorphism between music and human sub- This will be shown by looking at the ancient jectivity that was taken up and developed theory of ethos and at Susanne K. Langer’s aes- through centuries by philosophers and thetic theory. aestheticians. Apt examples in the modern Key words: theory of musical ethos; struc- philosophy of art are provided by Arthur tural analogy between music and subjective re- Schopenhauer’s and Susanne K. Langer’s con- ality; aesthetic cognitivism; logical form ceptions of music. fl[M]usic too, in so far as it uses audible sound, was bestowed for the sake of harmony. And harmony, which has motions akin to the revolutions of the Soul within us, was given by Muses to him who makes intelligent use of the Muses, not 1 The version of this article was presented as a paper at the International Musicological Confer- ence flAspects of Hellenism in Music«, held in Athens (Greece) in May 2006. 134 E. PANAIOTIDI: THE MYTH OF THE ISOMORPHISM, IRASM 38 (2007) 2, 133-142 as an aid to irrational pleasure, as is now supposed, but as an auxiliary to the inner revolution of the Soul, when it has lost its harmony, to assist in restoring it to order and concord with itself« (Timaeus 47d2-e2).2 This passage from Plato’s Timaeus contains one of the numerous articulations of the ancient theory of musical ethos, which was initially outlined by the Pythagoreans3 and further developed by Damon and his successors Plato and Aristotle, to name the most prominent. Underlying this theory is the thesis of iso- morphism between the movement of the tones of a melody on the one hand and of feelings and affective states of the human soul on the other. Whereas the belief in the ethical power of music was attacked more than once during Antiquity — for example, by the Sophists and the Hellenistic philosophers Sextus Empiricus and Philodemus — and the theory itself was eventually discarded, its basic principle has been used by thinkers of different epochs and cultural tradi- tions to establish the link between music (and aesthetics in general), on the one hand, and of ethics and other extra-aesthetic domains on the other. In the modern philosophy of music, the most significant examples of application of the principle of isomorphism are provided in the theories of Arthur Schopenhauer and Susanne K. Langer. For Schopenhauer, music had a special status among the arts as the most immediate embodiment of the will itself and not merely its copy. To support this claim he chose a pretty circuitous way. Schopenhauer argued that various aspects of the phenomenal world bear similarity with the formal elements of mu- sic that shares its capacity to objectify the will itself with this world.4 In other words, music is a unique means of objectification of the will by virtue of structural anal- ogy between the elements of music and those of the world of representations. Influenced by Schopenhauer’s ideas, while distancing herself from their meta- physical underpinnings, Langer developed her symbolic conception of music. It will be discussed in some detail later in this paper. Formulated initially in view of the specific nature of music, the principle of isomorphism was extended in the 18th century into the philosophy of art. Immanuel Kant’s aesthetic theory provides a good example. The German philosopher ex- pressed the ethical relevance of beauty in the formula flbeauty is a symbol of mo- rality«.5 In terms of Kant’s subjectivist aesthetics, this means that in our experience 2 PLATO: in twelve volumes. Vol. 9: Timaeus. Critias. Cleitophon. Menexenus. Epistles. Transl. by R. G. Bury (Cambridge, Mass.: Harvard Univ. Press; L.: Heinemann, 1966). 3 Some scholars point to the Oriental origin of the theory of musical ethos. See, for example, Warren D. ANDERSON, Ethos and Education in Greek Music. The Evidence of Poetry and Philosophy (Cam- bridge, Mass: Harvard Univ. Press, 1966), 42. However, it is pretty sure that the Pythagoreans were originators of this theory in Hellenic tradition. 4 Arthur SCHOPENHAUER, Die Welt als Wille und Vorstellung. In: Arthur Schopenhauers Werke: in fünf Bänden / nach den Ausg. letzter Hand hrsg. von Ludger Lütkehaus. Bd. 1. Neued. der 3., verb. und beträchtl. verm. Aufl. Leipzig 1859, 1-3. Tsd. (Zürich: Haffmans, 1988), § 52. 5 Immanuel KANT, The Critique of Judgement. Transl. by J. M. Meiklejohn. In: Great Books of the Western World. The Critique of Pure Reason /Immanuel Kant (Chicago [a. o]: Encyclopaedia Britannica, 1952), § 59. E. PANAIOTIDI: THE MYTH OF THE ISOMORPHISM, IRASM 38 (2007) 2, 133-142 135 with objects of beauty, which for Kant are natural objects in the first place and art works, we feel as if we are free. This is due to analogies between the freedom grounded in the free play of understanding and imagination inherent in aesthetic experience and the freedom of will that is the essence of morality.6 There are obvious differences between Kant’s theory and the ancient theory of musical ethos. Kant, for example, drew the analogy between various kinds of experience whereas the Greeks had in mind the object-subject relationship. And in contrast to them, Kant’s concern was not the real effects of art upon the individual. But these and other differences notwithstanding, we see Kant making use of the same principle of structural analogy to demonstrate the connection between Beauty and the Good. We find more recent evidence in the work of the German philosopher Dieter Henrich, who seeks to explain the flfoundations of art and how it resonates with life«.7 Henrich argues that great art assimilates the dynamic patterns of our lives so that we can recognize them in art works and find our way in liberating our- selves.8 The above examples offer evidence of the persistence of the principle of iso- morphism as an explanatory device of the potency and ethical values of music and art in general. However, in my view, this principle is problematic at least on two counts. First, it has never been established and its epistemological status clarified, and second, it seems not to provide sufficient support for the inferences that are derived from it. In what follows I am going to show this by looking at the ancient theory of musical ethos and at one twentieth century theory, that of Susanne Langer. The relationship of likeness/unlikeness played a considerable role in the theo- rising of the Pythagorean school. According to the Pythagoreans, the basic princi- ple of cosmic order and of the human soul is harmonia, which is rooted in numbers. Mathematical relations that constitute both the cosmic and the human harmoniai are akin to the proportional arrangements characteristic to musical attunement. From this they concluded that music is capable of exercising a moral effect upon the listener. The argument was thus that music influences the soul in a way two things that are alike do. Pythagoras, as reported by Iamblichus, was among those few who heard the music produced by moving heavenly bodies. And he used sounding, mortal music to bring the souls of his less advanced disciples in rhythm and order (XXV).9 6 Cf.: flWe call buildings or trees majestic and stately, or plains laughing and gay; even colours are called innocent, modest, soft, because they excite sensations containing something analogous to the con- sciousness of the state of mind produced by moral judgements«. Ibid. 7 Dieter HENRICH, Versuch über Kunst und Leben: Subjektivität — Weltverstehen — Kunst (München [u. a.], 2001), 9. 8 Ibid., 131. 9 IAMBLICH, De Vita Pythagorica. In: Peri tu Pythagoreiu biu. Pythagoras: Legende, Lehre, Lebensgestaltung / Jamblich. Eingeleitet, übers. und mit interpretierenden Essays vers. von Michael von Albrecht [u. a.] (Darmstadt: Wiss. Buchges., 2002). 136 E. PANAIOTIDI: THE MYTH OF THE ISOMORPHISM, IRASM 38 (2007) 2, 133-142 The Pythagorean motif of the isomorphism between the movement of musi- cal tones and the movement of the soul — human and cosmic — was taken up by their successors, who did not see themselves in need to explain and justify it. The Hellenistic philosopher Philodemus, famous for his devastating criticism of the theory of ethos, accused its later advocates who, in his words, merely flgive an inventory of what they learned from certain Pythagoreans« (De Musica, Anderson, 155). A brief glance at some theories of the post-Pythagorean period can show that Philodemus’ judgement is correct, at least as regards the legitimation of the basic principle of the theory of ethos.